View allAll Photos Tagged Inscription
Spliced photograph taken by Edward M. Catich in his The Roman Inscription in Rome. Published by the Catfish Press, St. Ambrose College, Davenport, Iowa.
From Edward M. Catich's The Trajan Inscription in Rome. Published by the Catfish Press, St. Ambrose College, Davenport, Iowa.
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CANON EOS 1000
EF 2.8/24-70L II
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Inscriptions include: This embattled shore, portal of freedom, is forever hallowed by the ideals, the valor and the sacrifices of our fellow countrymen
In proud remembrance of the achievements of her sons and in humble tribute to their sacrifices this memorial has been erected by the united states of america
En souvenir des réalisations de ses fils et en humble hommage à leurs sacrifices, ce mémorial a été érigé par les États-Unis d'Amérique.
Sheep are a common motif in Inscription Canyon which has one of the largest concentrations of Native American petroglyphs in the Mojave Desert.
Inscription at the Library of Celsius proclaiming the Augustus the "Imperator" (Emperor, commander of the army), "Son of the Divine One" (Julius Caesar), and "Pontifex Maximus" (High Priest).
Canon EF 24-105mm f/4L IS USM
©2014 Patrick J Bayens
Dimanche . Le ciel est d'une humeur opposée à celle d'hier, il boude et boudera toute la journée .
On est arrivé au « centre-bourg » de Trégourez . Ici aussi l'église est fermée .
Voyez le blog de Marta : knockaertmarthe.unblog.fr/le-patrimoine/patrimoine-religi...
Le porche .
Trégourez, Finistère, Bretagne, France .
Photographie J-P Leroy, tous droits réservés .
Center part of the inscription on the breech of the north mortar at the USS Maine Mast Memorial. Two Spanish mortars, a flagstone plaza, and an American anchor with a memorial plaque make up the western part of the memorial. There is a great deal of confusion that's been printed about just what is here.
Some sources say the bronze mortars (they are mortars, not cannon per se) were captured in Cuba, while others say they were taken from Spanish warshipr or are American guns. Well, here's the documentary proof: They are both Spanish, and they were both at Cavite Arsenal in the Philippines.
There's widespread confusion about the anchor, too. The USS Maine carried two anchors -- and neither is at Arlington National Cemetery. One anchor was given to the United Spanish War Veterans, who melted it down and made insignia for its members. The other anchor is in City Park in Reading, Pennsylvania. Representative John H. Rothermel used political connections to obtain the anchor from the Washington Navy Yard, which had possession of it. The anchor was dedicated on August 1, 1914, by then-Assistant Secretary of the Navy Franklin D. Roosevelt in front of a crowd of about 13,000 people. If one looks carefully at photos of the USS Maine, it's blatantly obvious that the ship's anchors look nothing like the one at the memorial.
Just where the USS Maine Mast Memorial anchor comes from is unclear. That is was manufactured is clear. The plaque makes no claim that this anchor came from the USS Maine. Arlington National Cemetery (which cannot be relied on for accuracy) claims it came from the Boston Navy Yard. Whether it was manufactured for the memorial, or for some other purpose, is unclear.
---------------------
The USS Maine Mast Memorial is located on Sigsbee Drive in Arlington National Cemetery. The monument is due west of Arlington Memorial Amphitheater.
An insurrection began in Cuba in 1892 against Spanish coloniel rule. The Spanish response was brutal, involving prison camps in which hundreds of thousands of Cubans died. Anti-independence riots in Havana were fomented by Spanish Army officers in January, and the USS Maine sent there on a "goodwill tour" to help protect American lives and property. The USS Maine exploded in Havana Harbor on February 15, 1898, killing about 266 of its 354 crew. The keel of the front third of the ship was obliterated. Its upper deck flew into the air, twisted upside down, and landed on the deck of the middle third. Amazingly, the rear third of the ship was almost completely intact, and most of the survivors (nearly all of them officers) were back there. The Maine settled into the bottom of the harbor, its upper decks just barely below the water at low tide.
In the month before war broke out, 166 bodies (or pieces of bodies) were found floating had been buried at Colon. Another 25 bodies were buried in Key West.
What caused the explosion is unclear, but the American press believed it was a naval mine laid by the Spanish. The U.S. went to war with Spain, liberting Cuba, Puerto Rico, the Philippines, Guam, and Wake Island. The war lasted just 10 weeks.
After the war, pressure built to "bring home the dead of the Maine". In December 1899, amid much pomp and press coverage, the 166 bodies in Havana were disinterred and brought by battleship to the United States. These bodies were buried in a field just north of other other Spanish-American War dead, just west of a gravel pit. (That gravel pit is the Memorial Amphitheater today.) President William McKinley, his Cabinet, and most Army and Navy leaders attended the funeral along with 25,000 citizens.
The first memorial to the Maine dead was constructed in the first six months of 1900. Near the field of the Maine dead a concrete base was poured. Two Spanish mortars — taken by Admiral George Dewey from Cavite Arsenal in Manila, The Philippines, at the end of the Spanish-American War — were placed on brick piers on either side of this base. In the center of the concrete pad was an anchor. The anchor was manufactured specifically for the site. The 2-short-ton (1.8-long-ton) anchor was hand-welded using rough iron to give it a unique look. A slightly worm-eaten wooden crossbar was inserted into the top of the anchor. The crossbar was painted black to protect it, and on the crossbar a brass tablet was riveted to the crossbar on which was written:
U. S. S. MAINE
Blown Up February Fifteenth, 1898.
Here Lie the Remains of One-Hundred Sixty-three Men of
'The Maine's' Crew Brought From Havana, Cuba.
Reinterred at Arlington, December Twenty-eight, 1899.
The Maine memorial mimicked a similar memorial of four captured guns erected previously that year in the Santiago campaign burial field. (These guns formed the basis for the Spanish-American War Memorial, erected in 1902.)
In 1910, Congress enacted legislation to raise the wreck of the Maine and recover the remaining 76 bodies. A cofferdam began to be built around the wreck on December 6, 1910, and the ship began to be revealed by May 1911. Partial remains of a number of bodies, many of them burned, were recovered. Most of the foreward third of the Maine was mangled metal and quietly dumped at sea (although some was too heavy to lift from the mud, and was destroyed by dynamite and left there). The middle third was cut away, and also dumped at sea. The rear third was refloated, and on March 16, 1912, it was towed two miles out to sea and sunk with full military honors and battleship gun salutes. On March 22, 1912, President William Howard Taft oversaw the burial of what were believed to be the remains of 67 sailors.
The legislation authorizing the raising of the USS Maine also authorized a memorial to be built at Arlington National Cemetery.
The memorial consists of the main mast of the USS Maine set upright into the center of a circular, stylized mausoleum shaped to look like a battleship gun turret. The structure is 90 feet (27 m) in diameter and 15 feet (4.6 m) high. The mast pierces the roof the memorial, and is sunk into the floor inside. The mausoleum is constructed of reinforced concrete, sheathed in tan granite on the outside and white marble on the interior. The names and ranks of those who died aboard the Maine are carved into the exterior of the mausoleum, organized into 23 panels. There are 11 slit windows with bronze grills in the wall of structure. The interior roof is a shallow dome, and the interior floor is lined with mosaic tile. The single entry to the mausoleum has two doors. The inner door is made of wood, and half the ship's bell (retrieved from the ocean floor in 1911) is attached to the outer side of this door. The outer door is a bronze gate decorated with metal rope and anchors. Ceremonial stone funeral urns stand on either side of the entryway. Above the door is carved the following: "Erected in memory of the officers and men who lost their lives in the destruction of the U.S.S. Maine, Habana, Cuba, February 15, 1898".
Sigsbee Drive encircles the memorial. On the east side of the memorial is a concrete pad on which the anchor manufactured in 1900 sits. Two bronze Spanish mortars, cast in the 1700s and captured during the Spanish-American War by Admiral George Dewey at Cavite Arsenal in the Philippines, flank the anchor. Originally, these mortars were placed atop brick piers with concrete caps. But when the anchor and mortars were incorporated into the new memorial, two granite balustrades were added along the roadway near the mortars.
CARITÀ NAPOLETANA
I proprietari della case dell'umile Vico delle Rose a San Potito dispongono un "maritaggio", ovvero "dote maritale" (senza la quale una giovane povera non si sarebbe mai potuta sposare) a Pasqua e all'Epifania. Oppure la distribuzione del fondo tra tutti gli abitanti del vicolo (sec. XVIII). Foto Carlo Raso.
"Si fà noto agli abitanti in questo comprensorio di case che da possessori del medesimo nel dì della S. Pasqua d'Epifania in ciascheduno anno si dispenserà un maritaggio di docati quindeci ad una donzella vergine in capillis che si mariterà nelle case de medesimi abitanti ed in mancanza di dette donzelle detti docati quindeci si distribuiranno per soccorso caritativo alle case de medesimi abitanti in detto dì festivo. Il tutto secondo li requisiti contenuti nell'atto che si conserva dal magnifico notar Nicola Ranieri di Napoli"
Angelis suis mandavit de te ut custodiant te in omnibus viis tuis
He has instructed his angels concerning you that they should guard you in all your ways
(Psalm 91:11)
This exhibition is a comprehensive retrospective on the work of an artist who propelled the avant-garde in the 1910s and whose career spanned the 20th century.
"To be modern is just like being elegant: it is not a way of dressing, but a way of being. To be modern is not to use the modern calligraphy, but to be the genuine discoverer of the new." José de Almada Negreiros, conference O Desenho [Drawing], Madrid, 1927
[Lendo Orpheu 2]
[Reading Orpheu 2], c.1954
Inscrição / Inscription: "Fernando Pessoa, Mário de Sá-Carneiro, José Pacheco, Luiz de Montalvor, Armando Cortes Rodrigues, Alfredo Guisado, Ronald de Carvalho, Guimaraens, José de Almada Negreiros
Petroglyphs on Inscription Rock in Jayhawker Canyon. This basalt boulder at Jayhawker Spring was inscribed with petroglyphs by Native Americans then centuries later with historic inscriptions by pioneers seeking a route to the gold fields during the California gold rush. Death Valley National Park. Inyo Co., Calif.
Regimental number - 6290
Place of birth - Normandy, Victoria
School - Werrangourt State School, Victoria
Religion - Roman Catholic
Occupation - Farmer
AddressByaduk, Victoria
Marital status - Single
Age at embarkation - 35
Next of kin - Mother, Mrs Ellen Bunworth, Byaduk, Victoria
Enlistment date - 30 September 1916
Rank on enlistment - Private
Unit name - 22nd Battalion, 18th Reinforcement
AWM Embarkation Roll number - 23/39/4
Embarkation details - Unit embarked from Melbourne, Victoria, on board HMAT A20 Hororata on 23 November 1916
Rank from Nominal Roll - Private
Unit from Nominal Roll - 22nd Battalion
Fate - Killed in Action 9 June 1918
Place of death or wounding - Ville sur Ancre, France
Age at death - 37
Age at death from cemetery records - 37
Place of burial - No known grave
Commemoration details - Australian National Memorial, Villers-Bretonneux, France
Villers-Bretonneux is a village about 15 km east of Amiens. The Memorial stands on the high ground ('Hill 104') behind the Villers-Bretonneux Military Cemetery, Fouilloy, which is about 2 km north of Villers-Bretonneux on the east side of the road to Fouilloy.
The Australian National Memorial, Villers-Bretonneux is approached through the Military Cemetery, at the end of which is an open grass lawn which leads into a three-sided court. The two pavilions on the left and right are linked by the north and south walls to the back (east) wall, from which rises the focal point of the Memorial, a 105 foot tall tower, of fine ashlar. A staircase leads to an observation platform, 64 feet above the ground, from which further staircases lead to an observation room. This room contains a circular stone tablet with bronze pointers indicating the Somme villages whose names have become synonymous with battles of the Great War; other battle fields in France and Belgium in which Australians fought; and far beyond, Gallipoli and Canberra.
On the three walls, which are faced with Portland stone, are the names of 10,885 Australians who were killed in France and who have no known grave. The 'blocking course' above them bears the names of the Australian Battle Honours.
After the war an appeal in Australia raised £22,700, of which £12,500 came from Victorian school children, with the request that the majority of the funds be used to build a new school in Villers-Bretonneux. The boys' school opened in May 1927, and contains an inscription stating that the school was the gift of Victorian schoolchildren, twelve hundred of whose fathers are buried in the Villers-Bretonneux cemetery, with the names of many more recorded on the Memorial. Villers-Bretonneux is now twinned with Robinvale, Victoria, which has in its main square a memorial to the links between the two towns.
Panel number, Roll of Honour,
Australian War Memorial - 95
Miscellaneous information from
cemetery records - Parents: Denis and Ellen BUNWORTH. Born at Byaduk, Victoria
Family/military connections - Brother: 5982 Pte Michael BUNWORTH, 8th Bn, killed in action, France, 1 August 1918.
Other details
War service: Western Front
Unidentified
EVIDENCE
Provenance evidence: Inscription
Location in book: Inside Back Cover
Transcription: Ptolemaeus, Claudius/Incun. 1478 .P855 Rosenwald Coll
COPY
Repository: Library of Congress
Call number: Incun. 1478 .P855 Rosenwald Coll
Collection: Rosenwald Collection
Copy title: Geographia. Latin/Cosmographia/Claudii Ptholemei Alexandrini philosophi Cosmographia.
Author(s): Ptolemy, active 2nd century.
Published: Rome, 10 Oct. (VI Idus Octobris) 1478.
Printer/Publisher: Arnoldus Buckinck
FIND IN POP
Incun. 1478 .P855 Rosenwald Coll
23.12.2012: Jerusalem, near Temple Mount, 1st cent. BC, limestone. It demonstrates that synagogues existed before the destruction of the Temple. But they had not yet become substitutes for the Temple and its rites, but rather filled other religious and social roles. Museum of Israel, Jerusalem.
Inscription: Theodotos, son of Vettenos, priest and head of the synagogue, son of the head of the synagogue, who was also the son of the head of the synagogue, built the synagogue for the reading of the Law and for the study of the precepts, as well as the hospice and the chambers and the bathing-establishment, for lodging those who need them, from abroad; it was founded by his ancestors and the elders and Simonides.
This was my third visit to Linton, but I seem to have mislaid the exterior shots I have taken previously, but will search for them.
Linton sits beside the main road south out of Maidstone, and the village is stretched out along it.
Inside it is a calm space, with the fabulous Cornwallis chapel to the north of the chance, with contains some of the finest monuments I have seen in Kent.
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LINTON HILL
TQ 75 SE LINTON
(East Side)
3/139 Church of St. Nicholas
23.5.67
GV II*
Parish church. C14 and C15. Alterations and additions of 1860 by
R.C. Hussey in a C15 style. Ragstone, with plain tile roof. Nave,
south aisle, south porch, chancel, south chancel chapel, north chancel
chapel. Nave and south aisle extended to west and north aisle and north-
west tower added in 1860. Nave: Probably C14, extended in 1860. West
End: small blocks of evenly-coursed stone. Chamfered stone plinth.
One buttress. C19 four-light window and pointed-arched doorway with
squared hoodmould and brattished canopy. South aisle: C14, extended to
west in 1860. Re-faced in 1860 with small blocks of evenly-coursed stone.
Chamfered stone plinth. Gabled. Three C19 three-light windows; one to
west and 2 flanking porch. South porch: C19, with stonework and plinth
similar to nave. Carved bargeboards. Moulded outer and plain-chamfered
inner doorway. South chancel chapel: later C14. Roughly coursed stone
on un-dressed plinth. Two C19 windows, one blocked 2-light to south,
one 3-light to east in a C15 style. Chancel: C14, re-faced, and
probably extended, in C19. Diagonal north-east and south-east buttresses.
2-light C19 windows to north and south.
Moulded pointed-arched south doorway. Vestry: C19. Low, and at right-
angles to chancel. North chancel chapel: C15 or early C16. Roughly
coursed galleted stone, with high moulded stone plinth. Gabled. C19
east window of 3 stepped lights and similar north window. North aisle:
1860. Chamfered stone plinth. Gabled. Two 3-light north windows.
North-west tower: 1860. Three stages, on moulded stone plinth, with
moulded off-sets between stages. Clasping buttresses. Recessed stone
spire. Two 2-light windows to each face of belfry. Small rectangular
north light to second stage and trefoil-headed lights to north and west
of bottom stage. Pointed-arched north doorway. West clock. South face
abuts nave. Interior: Structure: 3-bay south arcade to nave of doubly
plain-chamfered pointed arches; 2 east bays C14, west bay C19 in a C14
style. Columns with scroll-moulded capitals. 2-bay north arcade to nave
in a C14 style. Tower protrudes into north-west end bay. Tall pointed-
arched C15 chancel arch, with continuous outer moulding, and inner moulding
springing on each side from concave-sided semi-octagonal shaft with
moulded capital and base. Later C14 doubly plain-chamfered pointed arch
between chancel and south chapel, springing from attached semi-octagonal
columns with moulded capitals and bases. Pointed doubly plain-chamfered
arch dying into wall between south chapel and south aisle. 4-centred
doubly hollow-chamfered C15 or early C16 arch between chancel and north
chapel, inner order springing from attached semi-octagonal columns with
moulded capitals and high moulded bases. C19 arch between north chapel
and north aisle. Chamfered medieval rere-arch to blocked south window
of south chapel. Roof: Medieval crown-post roof to nave, with 3 moulded
octagonal crown-posts and ribbed C19 boarding under rafters. 2
medieval moulded octagonal crown-posts to south chapel. C19 boarded
wagon roof to chancel. Fittings: moulded cinquefoil-
headed niche with splayed reveals, to east wall of chancel. Small pointed-
arched plain-chamfered piscina adjacent to niche. Traceried wooden screen
with moulded, brattished cornice between chancel and south chapel.
Intricately-carved wooden screen under chancel arch, with vaulted wooden
canopy, enriched cornice and parapet, erected 1949. Monuments: hanging
monument on north wall of north aisle, to Sir Anthony Mayne, d.1627, and
2 wives. Alabaster, with convex corniced plinth. Three-quarter-length
figures between 4 Corinthian columns, with entablature arched over
centre. Achievements of Sir Anthony under arch, and heraldic shield
over each wife above entablature. Seated mourner (Faithful Gardener?)
above arch. Monuments within north chancel chapel: standing monument
against north wall, to Sir Anthony Mayne, d.1615, and wife. Alabaster.
Rectangular chest bearing inscription, surmounted by kneeling figures,
flanked by Corinthian columns bearing entablature with convex cornice.
Achievements above cornice. Vestiges of family tree carved and painted
on back panel. Gothic monument against north wall, to Galfridus Mann,
d.1756. Designed by Richard Bentley 1758: erected at expense of Horace
Walpole. Chest tomb on plain base, chest with trefoils in relief and with
plain central inscription in Latin. Above, a marble urn under crocketed
arch, soffit of arch panelled with quatrefoils. Tablet on north wall to
Eleanor Mann, d.1751. Rectangular, with foliated base plate. Inscribed
panel flanked by cupid terms. Moulded cornice, with flaming urn to each
end, surmounted by grey marble obelisk with white marble dragon rising
from urn. Tablet on south wall to Maria Isabella Mann, d.1823. Signed
E.H. Baily. Inscription on rectangular plinth beneath elderly mourner
seated in relief against gadrooned urn, with draped tapering back plate.
White marble tablet on south wall to Julia, Countess Cornwallis, d.1847,
by Baily. White marble on black ground, flanked by draped semi-octagonal
pilasters with moulded capitals linked by arch in relief. Tablet on west
wall to Edward Mann, d.1775. White marble on brown ground. Base-plate
with achievements. Oval inscription panel with moulded cornice surmounted
by urn against obelisk. Tablet on east wall to Charles James Mann,
d.1835 aged 22, and sister Jemima Isabella Wykeham Martin, d.1836, by
Baily. Rectangular consoled inscription panel surmounted by segmental-
headed white marble tablet on black marble base-plate, with 2 large
draped urns in relief. Free-standing white marble monument in north-
east corner, to the same Charles James Mann, signed by Baily. Young
man lying upon Grecian couch. Free-standing marble monument in south-
west corner, to Laura, Countess Cornwallis, d.1840, by Baily. Woman,
book in hand, turning on couch. (J. Newman, B.O.E. series, West Kent
and the Weald, 1980).
Listing NGR: TQ7538950165
britishlistedbuildings.co.uk/101250235-church-of-st-nicho...
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LINTON.
SOUTHWARD from Loose, on the opposite side of Cocks heath, lies the parish of Linton, antiently written LYLLYNGTON, and in Latin, Lilintuna, which probably took its name from the old English word, lytlan, signifying little or small, and stane, a stone, the upper part of this parish abounding with the quarry stone.
THIS PARISH lies adjoining to Cocks-heath, upon the ridge of quarry hills, the summit of which is the northern boundary of the weald of Kent, consequently almost the whole of it is within that district, only a small part of the heath being beyond it. Cocks-heath is a beautiful, and for this inclosed part of the country, an extensive plain, being about three miles in length, and in some places more than a mile in width. It is esteemed a most healthy spot, and being well watered, is generally preferred, as a situation for large encampments, it being equally commodious for the troops to march from it, on an emergency, either into the county of Sussex, or into Essex. In 1778 there were fifteen thousand men encamped on it, which did not occupy more than two thirds of the whole extent of it. Over this heath the high road from Maidstone goes through this parish and village into the Weald. The village is situated about half a mile from the heath, on the declivity of the hill, having the church and place-house on the east side of it, the prospect from which southward over the Weald, like the other situations on these hills, is very beautiful, and of great extent. The air is very healthy, the soil on the hill a loam, with the quarry stone close beneath, and below the hill a stiff strong clay, in a very miry country, and thick hedgerows interspersed with quantities of spreading oaks. About a mile below the hill the road crosses the river at Style-bridge.
ON COCKS-HEATH there grows THE PLANT, called Lunaria, or small moonwort.
The greatest part of this parish is within the bounds of the manor of East Farleigh, though the manor of Loose extends over some small part of it. The free holders of the former holding their lands in free socage tenure.
This place is not mentioned in Domesday, being most probably included in the description there given of the manor of East Farleigh.
LINTON-PLACE, antiently called Capell's-court, is the only place of consequence in this parish. It took its name originally from the family of Capell, who were proprietaries of it. They were usually called according to the custom of the time at Capell, and in Latin, De Capella, their principal residence being at Capell'scourt, in Ivechurch, in Romney-marsh, though they had large estates in several other parishes in this county. (fn. 1) One of them, John de Capella, in the reign of king Henry III. held lands in Boxley, as appears by the charter of inspeximus granted by that king to the abbey there.
Richard de Capell, his successor, died in the 15th year of king Richard II. in whose descendants this place remained till the reign of king Henry VI. when it was alienated by one of them to Richard Baysden, from which name in the reign of queen Elizabeth, it was sold to Sir Anthony Maney, of Biddenden, whose ancestors had resided there many generations. He removed his seat hither, and at his death was buried in this church, as was his son Walter Maney, esq. whose son, John Maney, was a person of great loyalty to king Charles I. in his troubles, in consideration of which he was first knighted, and afterwards created a baronet. After which he suffered much for his attachment to the king, having his estate plundered and sequestered. He bore for his arms, Party per pale, argent and sable; three chevronels between as many cinquefoils counterchanged. He passed away this seat and estate in the reign of king Charles II. to Sir Francis Withens, one of the justices of the king's bench, whose only daugh ter and heir Catherine, in 1710 carried it in marriage to Sir Thomas Twysden, bart. of East Peckham, and he died in 1712, leaving by her two daughters his coheirs. On his death his widow became intitled to this estate, and soon afterwards again carried it in marriage to brigadier-general George Jocelyn, who was a younger son of Sir Robert Jocelyn, bart. of Hertfordshire, and died in 1727; leaving by lady Twysden, three sons. The family of Jocelyn bore for their arms, Azure, a wreath, argent and sable, with four hawks bells towards the corners of the escutcheon, or. He alienated it to Robert Mann, esq. who built a small but elegant seat here, partly on the scite of the old mansion of Capell'scourt, which he pulled down, and resided in it till his death, in 1751. By his will he devised Linton place, with the parsonage and the advowson of the vicarage of Linton, among his other estates in this county, to his eldest son Edward Louisa, in tail male, with divers remainders over. He resided here and died unmarried in 1775, on which, by the above entail, it came to his next brother, Sir Horatio Mann, K. B. and baronet, envoy extraordinary at Florence, where he died in 1786, and his body being next year brought over to England, was interred in this church. In his lifetime he made over this seat, with his other estates in this parish, to his nephew Sir Horace Mann, who succeeded him likewise in the title of baronet, and he is the present possessor of it, and at times resides here.
THERE were formerly some lands in this parish which belonged to a family named Welldish, who had a chapel in this church called Welldish's chapel. Their arms were, as appears by their seals to some antient deeds, Argent, three talbots passant azure on a chief, or, a fox passant gules, which coat they bore, as is reported by tradition, to perpetuate the memory of one of their ancestors having been huntsman to William the Conqueror. After this estate had been many generations in this family, the greatest part of it was alienated to Walter Maney, esq. whose son, Sir John Maney, bart. of Linton, sold it, with the rest of his estate in this parish, in the reign of king Charles II. to Sir Francis Withins, since which it has passed in like manner as Linton-place, above-mentioned, to the Mann's, and is now in the possession of Sir Horace Mann, bart.
CHARITIES.
One of the family of MANEY, owners of Capell's-court, built and endowed an alms-house here for four poor families. Robert Mann, esq. of Linton-place, in 1749, rebuilt it, and encreased the original stipends of 13s. 4d. to each family to 20s.
LINTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church, which is dedicated to St. Nicholas, is a small building with a spire steeple, situated on the east side of the village. The patronage of it was part of the antient possessions of the crown, and remained so till it was given to the college or hospital for poor travellers, in the west borough at Maidstone, founded by archbishop Boniface in the reign of Henry III. (fn. 2) Archbishop Walter Reynolds, about 1314, appropriated it to the use and support of the above hospital.
¶In the 19th year of king Richard II. archbishop Courtney, on his making the parish church of Maidstone collegiate, with the king's licence, gave and assigned among other estates, the advowson and patronage of this church of Lyllyngton, to that hospital appropriated, and of the king's patronage, held of the king in capite, to the master and chaplains of the abovementioned new collegiate church of Maidstone, to hold in free, pure, and perpetual alms for ever, for its better maintenance, to which appropriation Adam Mottrum, archdeacon of Canterbury, gave his assent. The collegiate church of Maidstone was dissolved by the act of the 1st year of king Edward VI. anno 1546, and was surrendered into the king's hands accordingly.
In the 8th year of king Richard II. this church was valued at 106s. 8d. per annum. In the year 1640, the vicarage of it was valued at thirty pounds per annum. In the year 1751, the clear yearly certified value of it was 61l. 7s. 8d. yearly income.
This vicarage is valued in the king's books at 7l. 13s. 4d. and the yearly tenths at 15s. 4d. The parsonage, as well as the advowson of the vicarage, were held by grant from the crown in the reign of queen Elizabeth, by Alexander Grygsby, gent. in which name they continued in 1640. In 1681, Francis Martin, gent. held them. About the year 1710, they were held by Wallace, and afterwards by Oliver, who died possessed of them in 1728; soon after which they were purchased by Robert Mann, esq. of Lintonplace. Since which they have passed in like manner as that seat to Sir Horace Mann, bart. the present owner of them.
Below the inscription to Henry Wykys, vicar of All Saints church 1479-1508 who ministered to her brothers is one inscribed
"Pray for the soul of Alice Bredmeydew (?) who was the sister of William Browne ............... who died the ........ day of the month of February AD 1491 on whom God be merciful Amen"
Alice was the daughter of John Brown 1442 & wife Margerie www.flickr.com/gp/52219527@N00/1cF0b3
Alice was the sister of William Browne 1489 www.flickr.com/gp/52219527@N00/0SBm72 and John Brown 1475 www.flickr.com/gp/52219527@N00/B6W946 who enlarged and rebuilt the church of All Saints Stamford after major damage by the lancastrians during the Wars of the Roses. - Church of All Saints, Stamford Lincolnshire
Bramadesam is a temple of Chola period. There are 92 inscriptions here.
Inscriptions are extremely vital for the reconstruction of the history as they not only gave us insights into the political happenings of the concerned period but also about the socio-economic conditions as well as the cultural aspects of the period.
One must visit here to see the architectural beauty of thousand year old structure. Presiding deity is Chandramouliswarar.
இந்திய தொல்லியல் ஆய்வுத் துறையின் பாதுகாப்பில் உள்ள சந்திரமவுலீஸ்வரர் கோயிலில் 92 கல்வெட்டுகள் உள்ளன. இவற்றில் காலத்தால் முற்பட்டது பல்லவ மன்னன் கம்பவர்மனின் கி.பி.866-ம் ஆண்டைச் சேர்ந்த கல்வெட்டு.
Pagan and early Christian inscriptions cemented into the wall of the exterior narthex of Santa Maria in Trastevere.
An inscription with Punic lettering discovered locally is in the Museo Archeologico di Olbia in Olbia, Sardinia, Italy. It's thought to be the dedication of a building.
South side of Inscription Rock, N.M. Photograph by Timothy H. O'Sullivan, 1873, as part of the series "Geographical explorations and surveys west of the 100th meridian", sponsored by the United States War Department, U.S. Army Corps of Engineers.
Inscription rock is now part of El Morro National Monument, best known for its pre-Columbian petroglyphs as well as inscriptions from New Mexico's Spanish and English eras.
From the U.S. Library of Congress.
More pictures by Timothy O'Sullivan | More pictures of New Mexico
[PD] This picture is in the public domain.
Greek Orthodox Monastery of the Temptation ( Deir al-Qarantal) on the Mt.of Temptation, Jericho, Palestinian Authority
Petroglyphs on Inscription Rock in Jayhawker Canyon. This basalt boulder at Jayhawker Spring was inscribed with petroglyphs by Native Americans then centuries later with historic inscriptions by pioneers seeking a route to the gold fields during the California gold rush. Death Valley National Park. Inyo Co., Calif.
Unidentified
EVIDENCE
Provenance evidence: Inscription
Location in book: [Page, Folio, or Signature Number (Type In Manually)]
COPY
Repository: Penn Libraries
Call number: BS185 1782 .P5 cop. 2
Copy title: The Holy Bible, containing the Old and New Testaments / newly translated out of the original tongues, and with the former translations diligently compared and revised.
Published: Philadelphia, 1782
Printer/Publisher: Printed and sold by R. Aitken
FIND IN POP
The left portion of the inscription on the breech of the northern bronze Spanish cannon at the Spanish-American War Memorial in Arlington National Cemetery in Arlington County, Virginia, in the United States.
The Spanish-American War was a ten-week conflict that occurred from March to August 1898. It was prompted by an insurrection in Cuba against Spanish colonial rule, and led to American troops conquering Cuba, Puerto Rico, the Philippines, Guam, and Wake Island. The American declaration of war prohibited the U.S. from seeking to make Cuba a territory, and it was given its freedom in 1902. The Filipino people fought a bloody and unsuccessful fight for their freedom against American rule from 1899 to 1902 in which hundreds of thousands of civilians died.
While 2,910 American military personnel died during the war, just 345 were combat deaths. The rest died of disease, and more than 1,800 Americans were buried in Cuba, Hawaii, the Philippines, and Puerto Rico. On July 8, 1898, Congress enacted legislation authorizing the repatriation of American dead. Many of the dead were buried at Arlington National Cemetery, either because their families desired it or the remains could not be identified. Of the dead, 226 were disinterred in Cuba, 20 from Puerto Rico, and 24 from Hawaii. Most of the burials at Arlington National Cemetery occurred in what is now Section 22, while members of the Rough Riders (or 1st United States Volunteer Cavalry) were buried in Section 23. Civilian nurses (all of whom died of diease) were buried in what is now Section 21.
Some time in the first six months of 1900, a memorial was to the Spanish-American War dead was constructed by the United States Department of War (which had control over the cemetery). This memorial was built on a slight hillock on the far eastern part of the Spanish-American War "field of the dead." It was about 400 feet to the southwest of a gravel pit (now Memorial Amphitheater). This memorial consisted of a traffic circle, on the eastern side of which was a flagstone overlook. Placed on the overlook, facing east, were four cannon.
All four cannon were captured Spanish weapons. The two modern guns were taken from the Spanish Navy armored cruisers "Vizcaya" and "Infanta Maria Teresa". The U.S. Navy had sunk the two ships when they tried to flee the harbor of Santiago de Cuba on July 3, 1898. The ships (as well as two other cruisers and two destroyers) were old, not in good repair, had few guns, and were low on fuel. The U.S. Navy's Flying Squadron and North Atlantic Squadron, under the command of Commodore Winfield Scott Schley, easily sank all six. The provenance of the two smaller bronze cannon is less clear. A newspaper at the time claimed they came from a Spanish coastal battery in Cuba (which the paper did not identify), but the "Washington Post" was more specific and said they came from a coastal battery near Castillo de San Pedro de la Roca (also known as "Morro Castle") at Sevilla near Santiago de Cuba. All four guns were mounted on granite pedestals. The bronze cannon were spiked, while the modern guns had their breechblocks removed.
In April 1900, the National Society of the Colonial Dames of America voted to build a memorial to Spanish-American War dead at Arlington National Cemetery. Winifred Lee Brent Lyster, wife of Dr. Henry Francis LeHunte Lyster of Michigan and a relative of Confederate Army General Robert E. Lee, conceived of and was the primary advocate for the memorial. Originally, the memorial was just going to be a tablet. But money poured in, and soon the Society raised its sights and began thinking of a marble column. The federal government had already been considering a memorial just west of the existing one, and the Colonial Dames were given this for their effort. An original, over-elaborate design (it's not clear at all who the designer was) with whomping huge base was rejected by the Army Corps of Engineers, and the current design submitted and approved in October 1901. The inscription on the plaque on the front (west side) of the base was written by the poet Richard Watson Gilder.
The monument was unveiled and dedicated on May 21, 1902, by President Theodore Roosevelt.
The Spanish-American War Memorial consists of a column of gray granite 54 feet (16 m) high quarried in Barre, Vermont. (It is unknown which company provided the marble, or shaped it.) Atop the column is a bronze eagle with outstretched wings, facing west. (It is unknown who sculpted the eagle, or which firm cast it.) The eagle is mounted on a granite globe, which was quarried in Quincy, Massachusetts. A band decorated with 13 stars (representing the original Thirteen Colonies) is carved in high relief on the globe. (It is unknown which company provided the granite for the globe, or who shaped it.) The globe stands on a square base. The base stands atop a Corinthian capital which crowns the column. The column rests upon a tall plinth with a square cross-section. Around the top of the plinth are bronze stars 5 inches (13 cm) across. There are 11 stars on each of the four sides, for a total of 44 stars. The plinth stands on a larger square base, which sits atop a foundation set in the earth. On each corner of the foundation is a polished black granite sphere 18 inches (46 cm) in diameter. The total cost of the monument was $9,000 ($229,967 in 2013 dollars).
The National Society of Colonial Dames was given permission to add a second bronze tablet to the rear of the memorial in 1964. The 3-foot-6-inch (1.07 m) square tablet was placed on the memorial on October 11, 1964. And yet another tablet (!!!) was placed on the west side of the grassy circle on which the memorial sits. Also placed by the National Society of Colonial Dames, this 12-by-8-inch (30 by 20 cm) tablet was dedicated on October 19, 2008.
Igtham is well known, at least the nearby moated manor house, Igtham Moat. The village is well travelled through, and many stop here because it is chocolate box picture perfect.
I stopped here at about half ten on a Saturday morning, the place should have been packed with tourists, maybe it will once the pub opens for lunch, but I was able to park in the picturesque village square, take a few shots of the timber-framed buildings, and walk up the hill to the church.
From the lych gate I could see the porch door open, so my hopes were raised, and indeed the church was open, un-manned, and the lights came on, triggered by a pressure pad in the porch.
This I did not know until the lights went out after ten minutes, I went out to find the light switches, returned and the lights were back on.
Upon entering the church, your eyes are drawn to large and impressive memorials on the right hand side of the Chancel, two lying armoured male figures have relaxed for four hundred years, on the east wall, a severe female glares down as she has done since the 17th century.
And in an alcove on the north side, a 14th century knight, covered in armour lies with a lion at his feet.
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The church is built on a steep hillside and displays a rare brick-built north aisle. The chancel is full of unusual memorials, the most noteworthy of which is to Sir Thomas Cawne dating from the end of the fourteenth century. He is wearing armour and chain mail and lies under a canopy beneath a window that forms part of the same composition. In the churchyard is a nice nineteenth-century tomb designed by the famous architect William Burges. The other monuments of note at Ightham are all to the Selby family, the most famous of whom is Dorothy Selby (d. 1641) who is reputed to have had a connection with the Gunpower Plot, although the ambiguous inscription on her tomb is now believed to be no more than an appreciation of her needlework.
www.kentchurches.info/church.asp?p=Ightham
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IGHTHAM.
WESTWARD from Wrotham lies IGHTHAM, so corruptly called for Eightham, which name it had from the eight boroughs or hams lying within the bounds of it, viz. Eightham, Redwell, Ivybatch, Borough-green, St. Cleres, the Moat, Beaulies, and Oldborough. (fn. 1) In the Textus Roffensis it is spelt EHTEHAM.
THE PARISH of Ightham for the most part is in the vale between the chalk and the sand or quarry hills, tho' it reaches above the former northward. Near the chalk hill, and for some distance southward the same soil prevails, thence it is an unsertile deep sand, and at the boundaries towards Shipborne a deep clay and heavy tillage land; from hence, and its situation, however healthy it may be, it is by no means a pleasant or a profitable one. The parish is very narrow, little more than a mile in width, but from north to south it extends near five miles, from Kingsdown, above the hills, to Shipborne, its southern boundary. At the foot of the chalk hill and north-west boundary of this parish, is the mansion of St. Clere, and not far from it Yaldham; about a mile from which is Ightham-court, and at a little distance further southward is the church and village, situated on the high road from Maidstone to Sevenoke and Westerham, which here crosses this parish by the hamlet of Borough-green, and the manor of Oldborough, or Oldbery, as it is now called, with the hill of that name, belonging to Richard James, esq. of this parish, in this part, and by Ivy-hatch plain, there is much rough uninclosed waste ground, the soil a dreary barren sand, consisting in this and the adjoining parish, of several hundred acres, being in general covered with heath and furze, with some scrubby wood interspersed among them. At the southern extremity of the parish, next to Shipborne, and adjoining to the grounds of Fairlawn, is the seat of the Moat, lowly situated in a deep and miry soil. A fair is kept yearly in this parish, upon the Wednesday in Whitsun week, which is vulgarly called Coxcombe fair.
The Roman military way seems to have crossed this parish from Ofham, and Camps directing its course westward through it. The names of Oldborough, now called Oldberry-hill, and Stone-street in it, are certain marks of its note in former times.
At Oldberry-hill there are the remains of a very considerable intrenchment, which is without doubt of Roman origin. It is situated on the top of the hill, and is now great part of it so overgrown with wood as to make it very difficult to trace the lines of it. It is of an oval form, and by a very accurate measurement, contains within its bounds the space of one hundred and thirty-seven acres. Just on the brow of the hill is an entrance into a cave, which has been long filled up by the sinking of the earth, so as to admit a passage but a very small way into it, but by antient tradition, it went much further in, under the hill.
The whole of it seems to have been antiently fortified according to the nature of the ground, that is, where it is less difficult of access by a much stronger vallum or bank, than where it is more so. In the middle of it there are two fine springs of water. The vast size of this area, which is larger even than that at Keston, in this county, takes away all probability of its having been a Roman station, the largest of which, as Dr. Horsley observes, that he knew of, not being near a tenth part of this in compass. It seems more like one of their camps, and might be one of their castra æstiva, or summer quarters, of which kind they had several in this county. An intrenchment of like form seems to have been at Oldbury hill, in Wiltshire, which the editor of Camden thought might possibly be Danish. There are remains of a Roman camp at Oldbury, in Gloucestershire, where the pass of the Romans over the Severn, mentioned by Antonine, is supposed to have been by Camden. And at Oldbury, near Manchester, in Warwickshire, are such like remains.
IGHTHAM was held in the reign of king Henry III. by Hamo de Crevequer, who died possessed of it in the 47th year of that reign, anno 1262, leaving Robert, his grandson, his heir. By his wife, Maud de Albrincis, or Averenches, he had also four daughters, Agnes, wife of John de Sandwich, Isolda, of Nicholas de Lenham; Elene, of Bertram de Criol; and Isabel, of Henry de Gaunt.
Robert de Crevequer left one son, William, who dying without issue, his inheritance devolved on the children of three of the daughters of Hamon de Crevequer, as above-mentioned, Agnes, Isolda, and Elene, and on the division of their inheritance, Ightham seems to have fallen to the share of Nicholas, son of Bertram de Criol, by his wife Elene, above-mentioned. He was a man greatly in the king's favour, and was constituted by him warden of the five ports, sheriff of Kent, and governor of Rochester castle. By Joane his wife, daughter and sole heir of William de Aubervill, he had Nicholas de Criol, who had summons to parliament, and died in the 31st year of king Edward the 1st.'s reign, possessed of this manor, which his heirs alienated to William de Inge, who held it in the first year of king Edward II. and procured free-warren for his lands in Eyghtham, (fn. 2) and in the 9th year of it, a market here, to be held on a Monday weekly, and one fair on the feast of the apostles, St. Peter and St. Paul. In which last year he was constituted one of the justices of the common pleas. (fn. 3) He bore for his arms, Or, a chevron vert. On his death, in the 15th year of that reign, anno 1286, Joane, his daughter, married to Eudo, or Ivo la Zouch, the son of William, lord Zouch, of Harringworth, by Maud, daughter of John, lord Lovel, of Tichmarsh, became entitled to it.
His descendants continued in the possession of this manor till the reign of king Henry VII. when it was alienated to Sir Robert Read, serjeant at law, afterwards made chief justice of the common pleas, (fn. 4) who died in the next reign of king Henry VIII. leaving by Margaret, one of the daughters and coheirs of John Alphew, esq. of Chidingstone, one son, Edmund, one of the justices of the king's bench, who died before him in 1501, and also four daughters, who became his coheirs, and on the partition of their inheritance this manor was allotted to Sir Thomas Willoughby, (fn. 5) in right of Bridget his wife, the eldest of them. He was in the 29th year of king Henry VIII. promoted to the office of chief justice of the common pleas, and in the 31st year of it, he, among others, procured his lands to be disgavelled by the act then passed for that purpose. He left Robert his son and heir, who alienated this manor to William James, third son of Roger James, of London, who was of Dutch parentage, and coming into England in the latter end of the reign of king Henry VIII. was first as being the descendant of Jacob Van Hastrecht, who was antiently seated at Cleve near Utrecht, called after the Dutch fashion Roger Jacobs, and afterwards Roger James, alias Hastrecht. This Roger James, alias Hastrecht, had several sons and one daughter. Of the former, Roger, the eldest, was of Upminster, in Essex, whose descendants settled at Ryegate, in Surry. William, was of Ightham, as before mentioned; Richard had a son, who was of Creshell, in Essex; John was of Woodnesborough, in this county, and George was of Mallendine, in Cliff, near Rochester. William-James, the third son of Roger as before-mentioned, resided at Ightham-court, as did his son William James, esq. who was a man much trusted in the usurpation under Oliver Cromwell, as one of the committee members for the sequestration of the loyalists estates, during which time he was in five years thrice chosen knight of the shire for Kent. His son Demetrius was knighted, whose son William James held his shrievalty for this county here in 1732. He left by his wife, daughter of Demetrius James, esq. of Essex, two sons, Richard his heir, and Demetrius, late rector of this parish, and a daughter married to Mr. Hindman. He died in 1780, and was succeeded by his eldest son Richard James, esq. now of Ightham-court, and the present possessor of this manor. He is colonel of the West-Kent regiment of militia, and is at present unmarried. The original coat of arms of this family of Haestrecht was, Argent, two bars crenelle, gules, in chief three pheons sable; which arms, without the pheons, are borne by the several branches of James, quartered with, Argent, a chevron between three fer de molins transverse, sable.
ST. CLERES, alias West Aldham, situated in the borough of the latter name, is a manor and seat in the north-west part of this parish, adjoining to Kemsing, which was formerly called by the latter name only, and was possessed by a family of the same denomination, who bore for their arms, Azure, a pile, or.
Sir Thomas de Aldham was owner of it in the reign of king Richard I. and was with that king at the siege of Acon, in Palestine. His descendant Sir Thomas de Aldham, possessed this manor of Aldham in the reign of king Edward II. and dying without male issue, his three daughters became his coheirs, the eldest of whom married Newborough, called in Latin de Novo Burgo, of Dorsetshire; Margery married Martin Peckham, and Isolda was the wife of John St. Clere, and on the division of their inheritance this manor fell to the share of John St. Clere, who possessed it in his wife's right. (fn. 6)
John de St. Clere, written in Latin deeds De Sancta Claro, died possessed of it in the beginning of king Edward III. leaving Isolda his wife surviving, on whose death John St. Clere, their son, succeeded to this manor, which from this family now gained the name of Aldham St. Cleres, and in process of time came to be called by the latter name only, and their descendants continued in possession of this manor till the beginning of the reign of king Henry VII. when it was alienated to Henry Lovel, who left two daughters his coheirs; Agnes, who married John Empson, cousin to Sir Richard Empson, the grand projector; and Elizabeth, married to Anthony Windsor.
John Empson conveyed his moiety of it, in the 8th year of king Henry VIII. to Sir Thomas Bulleyn, afterwards created earl of Wiltshire and Ormond, and father of the lady Anne Bulleyn, wife to Henry VIII. (fn. 7) and Anthony Windsor, in the 10th year of that reign, passed his moiety away by sale to Richard Farmer, who that year purchased of Sir Thomas Bulleyn the other part, and so became possessed of the whole of this manor of St. Cleres. In the 28th year of that reign, Richard Farmer conveyed it to George Multon, esq. of Hadlow who removed hither. He bore for his arms, Or, three bars vert; being the same arms as those borne by Sir John Multon, lord Egremond, whose heir general married the lord Fitzwalter, excepting in the difference of the colours, the latter bearing it, Argent, three bars, gules. His grandson Robert Multon, esq. was of St. Cleres, and lies buried with his ancestors in this church. He alienated this manor and estate, in the reign of Charles I. to Sir John Sidley, knight and baronet, a younger branch of those of Southfleet and Aylesford, in this county, who erected here a mansion for his residence, which is now remaining. He was descended from William Sedley, esq. of Southfleet, who lived in the reign of king Edward VI. and left three sons, of whom John was ancestor of the Sedleys, of Southfleet and Aylesford; Robert was the second son, and Nicholas the third son, by Jane, daughter and coheir of Edward Isaac, esq. of Bekesborne, afterwards married to Sir Henry Palmer, left one son, Isaac Sidley, who was of Great Chart, created a baronet in 1621, and sheriff of this county in the 2d year of Charles I. whose son Sir John Sidley, knight and baronet, purchased St. Cleres, as above-mentioned. (fn. 8) He left two sons, Isaac and John, who both succeeded to the title of baronet. The eldest son, Sir Isaac Sidley, bart. succeeded his father in this estate, and was of St. Cleres, as was his son, Sir Charles Sidley, bart. who dying without issue in 1702, was buried in Ightham church. By his will he devised this manor, with the seat and his estates in this parish, to his uncle John, who succeeded him in the title of baronet, for his life, with remainder to George Sedley, his eldest son, in tale male. But Sir Charles having been for some time before his death, and at the time of his making his will of weak understanding, and under undue influence, Sir John Sedley contested the validity of it, and it was set aside by the sentence in the prerogative court of Canterbury.
Soon after which Sir John, and his son George Sedley above-mentioned, entered into an agreement, by which Sir John Sedley waved his right as heir at law, and his further right to contest the will. In consequence of which an act of parliament was obtained for the settling in trustees the manor of West Aldham, alias St. Cleres, with its appurtenances, and the capital messuage called St. Cleres, in Ightham, and other messuages and lands in Ightham, Wrotham, Kemsing, Seal, &c. that they might be sold for the purposes of the agreement, which the whole of them were soon afterwards to William Evelyn, esq. the fifth son of George Evelyn, esq. of Nutfield, in Surry, who afterwards resided here, and in 1723 was sheriff of this county.
He married first the daughter and heir of William Glanvill, esq. and in the 5th year of king George I. obtained an act of parliament to use the surname and arms of Glanvill only, the latter being Argent, a chief indented azure, pursuant to the will of William Glanvill, esq. above-mentioned. By her he had an only daughter Frances, married to the hon. Edward Boscawen, next brother to Hugh, viscount Falmouth, and admiral of the British fleet. His second wife was daughter of Jones Raymond, esq. who died in 1761, by whom he had William Glanvill Evelyn, esq. who on his father's decease in 1766, succeeded to St. Cleres and the rest of his estates in this county. In 1757 he kept his shrievalty at St. Cleres, where he resides at present, and is one of the representatives in parliament for Hythe, in this county.
He married about the year 1760, Susan, one of the two daughters and coheirs of Thomas Borrett, esq. of Shoreham, late prothonotary of the court of common pleas, by whom he had a son, William Evelyn, esq. who died in 1788 at Blandford-lodge, near Woodstock, by a fall from his horse, æct. 21, and unmarried; and a daughter Frances, afterwards his sole heir, married in 1782 to Alexander Hume, esq. of Hendley, in Surry, brother of Sir Abraham Hume, who in 1797 had the royal licence to take and use the name and arms of Evelyn only, and he now resides at St. Clere.
THE MOAT is another borough in this parish, in which is the manor and seat of that name, lying at the southern extremity of it next to Shipborne, which in the reign of king Henry II. was in the possession of Ivo de Haut, and his descendant, Sir Henry de Haut, died possessed of it in the 44th year of Edward III. as appears by the escheat roll of that year. His son, Sir Edmund de Haut, died in his life-time, so that his grandson, Nicholas Haut, became his heir, and succeeded him in the possession of this estate. (fn. 9)
He was sheriff in the 19th year of king Richard II. and kept his shrievalty at Wadenhall, in this county. He left two sons, William, who was of Bishopsborne; and Richard Haut, who succeeded him in this estate, and was sheriff in the 18th and 22d years of king Edward IV. keeping both his shrievalties at this seat of themoat; but having engaged, with several others of the gentry of this county, with the duke of Buckingham, in favor of the Earl of Richmond, he was beheaded at Pontefract, anno 1 Richard III. and afterwards attainted in the 3d year of that reign, and his estates confiscated. (fn. 10) Quickly after which, this manor and seat were granted by that king to Robert Brakenbury, lieutenant of the tower of London, and that year sheriff of this county. He kept possession of the Moat but a small time, for he lost his life with king Richard in the fatal battle of Bosworth, fought that year on August 22, and on the Earl of Richmond's attaining the crown was attainted by an act then passed for the purpose, and though his two daughters were restored in blood by another act four years afterwards, yet the Moat was immediately restored to the heirs of its former owner Richard Haut, whose attainder was likewise reversed, and in their descendants it remained till the latter end of the reign of king Henry VII. when it appears by an old court roll to have been in the possession of Sir Richard Clement, who kept his shrievalty at the Moat in the 23d year of king Henry VIII and bore for his arms, A bend nebulee, in chief three fleurs de lis within a border, gobinated. He died without any legitimate issue, and was buried in the chancel of this church. Upon which his brother, John Clement, and his sister, married to Sir Edward Palmer, of Angmering, in Sussex, became his coheirs, but the former succeeded to the entire fee of this estate.
John Clement died without male issue, leaving an only daughter and heir Anne, who carried the Moat in marriage to Hugh Pakenham, and he, in the reign of king Edward VI. joining with Sir William Sydney, who had married Anne, his only daughter and heir passed it away to Sir John Allen, who had been of the privy council to king Henry VIII. and lord mayor of London in the year 1526 and 1536. He was of the company of mercers, a man of liberal charity. He gave to the city of London a rich collar of gold, to be worn by the succeeding lord-mayors: also five hundred marcs as a stock for sea coal, and the rents of those lands which he had purchased of the king, to the poor of London for ever; and during his life he gave bountifully to the hospitals, prisons, &c. of that city. He built the mercers chapel in Cheapside, in which his body was buried, which was afterwards moved into the body of the hospital church of St. Thomas, of Acon, and the chapel made into shops by the mercer's company. He bore for his arms, In three roundlets, as many talbots passant, on a chief a lion passant guardant between two anchors. (fn. 11)
He left a son and heir Sir Christopher Allen, whose son and heir, Charles Allen, esq. succeeded his father in this estate, and resided at the Moat, which he afterwards sold at the latter end of the reign of queen Elizabeth to Sir William Selby, younger brother of Sir John Selby, of Branxton, in Northumberland. He resided here in the latter part of his life, and died greatly advanced in years in 1611, unmarried, and was buried in this church, bearing for his arms, Barry of twelve pieces, or and azure. He by his will gave this estate to his nephew, Sir William Selby, who resided here, and died likewise without issue, and by his will, for the sake of the name gave the Moat to Mr. George Selby, of London, who afterwards resided here, and was sheriff in the 24th year of king Charles I. and bore for his arms, Barry of eight pieces, or and sable. He died in 1667, leaving several sons and daughters. Of whom William Selby, esq. the eldest son, succeeded to this estate, and was of the Moat. He married Susan, daughter of Sir John Rainey, bart. of Wrotham, by whom he had several children, of whom John Selby, esq. the eldest son, was of the Moat, and by Mary his wife, one of the three daughters and coheirs of Thomas Gifford, esq. left two sons, William, who succeeded him in this seat and estate at Ightham, and John Selby, esq. who was of Pennis, in Fawkham, and died unmarried.
William Selby resided at the Moat, of which he died possessed in 1773, leaving his wife Elizabeth, daughter of Mr. Burroughs, surviving, who afterwards possessed this seat and resided here. She died in 1788, and her only son, William Selby, esq. of Pennis, having deceased in 1777, and his only daughter and heir likewise, Elizabeth Borough Selby, by Elizabeth his wife, one of the daughters of John Weston, esq. of Cranbrook, under age, and unmarried in 1781. This seat, with her other estates in this county, devolved to John Brown, esq. who has since taken the name of Selby, and now resides at the Moat, of which he is the present possessor.
The park, called Ightham park, has been already mentioned under the parish of Wrotham, to which the reader is referred.
It appears by the visitation of 1619, that there was a branch of the Suliards, of Brasted, then residing in this parish.
John Gull resided in this parish in the reign of king Henry VIII. and died here in 1547.
Charities.
HENRY PEARCE gave by will in 1545, to be distributed to the poor in bread yearly the annual sum of 6s. 8d. charged on land now vested in Cozens, and she gave besides to be distributed to the poor in bread at Easter yearly, 40l. now of the annual produce of 2l. and for the providing of books for poor children to learn the catechism, the sum of 10l. now of the annual produce of 10s.
HENRY FAIRBRASSE gave by will in 1601, to be distributed in like manner, the annual sum of 1l. to be paid out of land now vested in William Hacket.
WILLIAM JAMES, ESQ. gave by will in 1627, to be distributed in bread to the poor every Sunday, the annual sum of 2l. 12s. to be paid out of lands now vested in Rich. James, esq.
GEORGE PETLEY gave by will in 1705, to be distributed in like manner, every Sunday, 2s. the annual sum of 5l. 4s. to be paid out of land vested in William Evelyn, esq.
ELIZABETH JAMES, gave by will in 1720, for the education of poor children, the annual sum of 5l. to be paid out of land now vested in Elizabeth Solley.
IGHTHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such in the deanry of Shoreham.
¶The church is dedicated to St. Peter. Under an arch on the north side of it, there is a tomb of free stone, having on it a very antient figure at full length of a man in armour, ornamented with a rich belt, sword and dagger, his head resting on two cushions, and a lion at his feet, over his whole breast are his arms, viz. A lion rampant, ermine, double queued. This is by most supposed to be the tomb of Sir Thomas Cawne, who married Lora, daughter and heir of Sir Thomas Morant. He was originally extracted from Staffordshire: he probably died without issue, and his widow remarried with James Peckham, esq. of Yaldham. His arms, impaling those of Morant, were in one of the chancel windows of this church.
The rectory is valued in the king's books at 15l. 16s. 8d. and the yearly tenths at 1l. 11s. 8d. It is now of the yearly value of about 200l.
The patronage of this rectory seems to have been always accounted an appendage to the manor of Ightham, as such it is now the property of Richard James, esq. of Ightham-court.
†ILLVSTRIS CLARVS ROBERTUS REX SICULORUM SANCIA REGINA PRELUCENS CARDINE MORVM CLARI CONSORTES VIRTVTVM
MVNERE FORTES VIRGINIS HOC CLARE TEMPLVM STRVXERE
BEATE POSTEA DOTARVNT DONIS MVLTISQVE BEARVNT
VIVANT CONTENTE DOMINE FR(ATR)ESQ(UE) MINORES SANCTA
CVM VITA VIRTVTIBVS ET REDIMITA ANNO MILLENO
CENTENO TER SOCIATO DENO FVNDARE TEMPLVM CEPERE
MAG(IST)RI
L'illustre e famoso Roberto, re di Sicilia, e la regina Sancia, risplendente per elevatezza di costumi, coniugi ben noti e degni di rispetto per dono di virtù, eressero questo tempio (dedicato) alla vergine Chiara, ed in seguito lo dotarono e lo magnificarono di molti doni; di ciò soddisfatte vivano le signore monache ed i frati minori, conducendo una vita santa e coronata da virtù. Nell'anno 1310, i maestri iniziarono ad erigere il tempio dalle fondamenta.
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
"Am I therefore become your enemy because I tell you the truth?" (update: Galatians 4:16)
This inscription, carved on the inside of a window in the Old Rectory, Cradley, Herefordshire, is the relic of an early 19th-century feud between the rector (on the inside) and the curate (on the outside). Another window has an inscription carved by the curate of which the words "Satan" and "dagger" can be deciphered. The two of them carved their messages on the glass with their diamond signet rings.
(We spent a very enjoyable couple of nights there - highly recommended www.oldrectorycradley.com/ )